Singer-songwriter Jeff Buckley took the world by storm in 1994 with the release of his debut album, “Grace.” Three years after its release, Buckley’s story came to a tragic end, as the musical visionary passed away at the age of thirty. His legacy lives on, with director Amy Berg attempting to capture the icon’s life in her new documentary, “It’s Never Over, Jeff Buckley.”
Released on Aug. 8, “It’s Never Over” aims to tell the story of Buckley’s life and music through never-before-seen footage and interviews with loved ones and bandmates. At its best, the film pays tribute to the voice of a lifetime with personal anecdotes, but at its worst, the film offers a collection of cheesy montages, set to poorly introduced interviews and often misplaced animations.
The film opens with an interview of a woman, describing the issues faced by those who date famous figures. Without introducing who she is or her relation to Buckley, the segment leaves the audience confused about the relevance of these statements to Buckley, making for a strange opening scene.
While disorganized interviews are prevalent throughout, a highlight includes Buckley’s girlfriend, Rebecca Moore, and mother, Mary Guibert, describing his unique interest in developing stylized voicemails. Telling this story makes for a more intimate look at Buckley and his personality, a figure often shrouded in sadness and tragedy.
The film succeeds in highlighting Buckley’s influences, giving audiences a glimpse at his personal bookshelf and including stories of him left starstruck after meeting his own musical hero, Nusrat Fateh Ali Khan. An anecdote about Radiohead leaving Buckley’s concert early and rushing to the studio to record “Fake Plastic Trees” as a result of his inspiring performance provides context to the level of fame he amassed during his lifetime.
Where these unique humanizing moments make the film enjoyable for fans of Buckley, director Berg goes astray in her presentation. The visuals in “It’s Never Over, Jeff Buckley,” do not honor Buckley’s signature stripped back, intimate sound, as the screen often displays unnecessary stock footage and animations verging on psychedelic.
In a particularly distasteful scene, Buckley’s loved ones begin describing his untimely death as a result of drowning. While these interviews take place, the screen depicts a colorful cartoon of him drowning, something completely unnecessary and borderline disrespectful, clashing with the documentary’s subject matter.
Berg ends the film on an impactful note as the final scene shows Buckley’s mother listening to his final voicemail. This emotional scene shows the raw, unfiltered Buckley, making for a perfect ending to the film.
While audiences can look forward to interesting anecdotes about Buckley, fans may be disappointed by the film’s often disorganized feel. Berg’s inability to provide a unique perspective on Buckley’s life and legacy ultimately causes the film to fall flat.
2 ½ hallelujahs out of 5
